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1

Examining the Cinema. The Question about the Medium in Jean-Luc Godard's Selected Films of the Early 1980s

100%
Szewczyk M.
Kwartalnik Filmowy
|
2006
|
issue 54-55
64-80
EN
The article focuses on Godard's self-thematic films and on questions about the status of cinema in an era of the advancement of new technologies. In her analysis of Godard's films, the authoress tries to define the concept of 'self-thematic cinema' and to trace the peculiar deconstruction (understood as factorization) of a cinematic work performed by the French filmmaker. She is, first and foremost, interested in the diagnoses of cinema made by the director of 'Breathless' in the period in which many filmmakers, including Godard, pronounced the death of cinema while theoreticians of culture yet again discussed a 'crisis of representation'.
2

Ferdinand torn apart

100%
Esquenazi J.-P.
Kwartalnik Filmowy
|
2007
|
issue 60
6-24
EN
The author considers the incredibly emotional and subjective reaction to Jean-Luc Godard's film 'Pierrot-le Fou'. Critics have often identified the main character Pierrot-Ferdinand with Godard himself -the unhappy artist in the grip of passion in an unquiet time, hostile towards individuals unwilling to submit to the rules of contemporary society. 'Perriot le Fou' presents us with a vision of the world that is masculine, passionate and lethal. Ferdinand's distaste for culture based on consumption is nonetheless coloured by hypocrisy. It is a game of 'love and hate'. The main character 'does not believe in the real worlds', and can only communicate with the world around him only through a participation in the game. The author suggests a higher meta-critical level - the analysis of the motivation of the main character in the context of structuralism, linguistics, and psychoanalysis, which both create and isolate the main character from the world around him. Thus created person reflects the condition of a western intellectual, and in that sense we can speak of self reference of Godard's film.
3

COGITO ERGO VIDEO. INTRODUCTION TO GODARD'S 'HISTOIRE(S) DU CINEMA' (Cogito ergo video. Wprowadzenie do 'Histoire(s) du cinema' Godarda)

63%
Hirszfeld A.
Kwartalnik Filmowy
|
2009
|
issue 67-68
79-96
EN
The authoress presents a new hypothesis regarding the role of self-reflection in Godard's somewhat forgotten, especially in Poland, 'Histoire(s) du cinéma'. Self-reflection here appears to be a form of repetition, and the key to the understanding the history of cinema (and to understanding the history tout court). The relationship between film and the very process of its creation and development through the years creates a new historiosophy of sorts. 'Histoire(s)...' is an attempt at uncovering history as a certain possibility. In the case of Godard, the new gaze at history revolves around the world and role of possibilities and modalities in understanding history as a whole. One might argue that Godard's 'Histoire(s) du cinéma' present the history of the cinema as the history of degeneration and fall. The attempt at facing up to the past is above all to enable the existence of that which is to come.
4

ZNOVUOBJEVENÝ GODARD: FILM ´ZDRÁVAS MARIA´ JAKO VÝZVA KŘESŤANŮM K PŘEMÝŠLENÍ

38%
Kučera J.
Verba Theologica. Teologický časopis
|
2020
|
vol. 19
|
issue 1
57 – 75
EN
The article recalls the controversial movie ´Je vous salue Marie´ by Jean-Luc Godard from the 1985, which follows the biblical story of the immaculate conception of Virgin Mary – framed inside a contemporary culture – from its psychological, as well as theological point of view. History, proclaimed with a typical sharp symbolism and intellectualism of the French ´New Wave´ cinema, is a masterpiece offering not only new philosophical insights into a biblical mystery of incarnation but also a hypothetical story of a chosen girl, as it would have very probably happened in the twentieth century. This movie was often misunderstood but above all not studied and analyzed as it deserved. Godard´s work with camera, music, and especially with symbols are magnificent, his message hopeful, sweet, and respecting the Holy Writ. After Marxist Pasolini, the French director, who claimed to be an unbeliever, has left us a picture worthy of rediscovery and particularly of deeper thinking.
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